606 Animation Title H264

for the animation title this is actually quite a fun project again kind of showcasing how quickly you can set some of this stuff up and you might be surprised at how simple some of these scenes are because outside of these two lights all we've got is two text objects and one plane and that's about it really now the plane is sort of the main attraction here if we if we play this it's not going to be super fast unfortunately and let me just go in here maybe turn down some subdivisions at the end here let's just run through the modifier stack so again looks kind of crazy but um it's quite hard to see let's go up and turn that one off there we go now we get a bit of a more of a real-time idea and this looks kind of overly complex but really it's very doable again with the techniques that we've seen so far so when we get into this and I'm gonna leave that subsurf turned down just to keep everything going a little bit faster I'm gonna turn some of these down and let's just start at the beginning there we go so actually start with a vertex group if we go into weight paint mode called mask and what this is is a vertex weight proximity modifier so we talked about that as well very briefly in one of the videos where basically all I'm doing is this vertex group the mask for Attucks group by default is just 100% full so I just went in and in edit mode just grabbed everything hit a sign on the mask and that filled it up and what we're doing here with the vertex weight proximity is we're using that inner text object and if I go back out of weight paint mode here so text inner as I move this around you can see this actually reacts to it so just using that text that I know is gonna be there as a mask to sort of mask out my displace and I could have probably set this up a little bit more simple so you can see by default this is sort of what the mask does and I just recurved a little bit just to make the fall-off a little bit sharper to make the animation sort of feel more like it's a little bit stuck in there and then I created a displaced vertex group so if we go in answered a similar idea that what we did before and the reason I did it this way so that I could then kind of remove the mask from the from the displace for the X weight so if I turn it on you can see this is just a sort of normal mask if I am if I turn that off rather and now I turn it back on now you can see that that gets I believe multiplied there we go because I know this is set down to zero because everything else was red and only the inside was blue and now I'm just multiplying everything by that one so that way it stays sort of flat and really that first this sort of second step where I set up the vertex weight with the texture for the displacement could also really just be a texture in the displace you don't necessarily have to do this and then just use the mask for a text group instead but I didn't want to change this and cheap I just wanted to show you like I set this up site that was thinking maybe I need to do something more complex or it's just kind of messing about and it worked out again I could go in and optimize this delete these two vertex weight modifiers and put the same texture that I put in here just in the displace and just use the mask as a vertex group but it really it wasn't necessary as long as it works you know you can see it plays it works just fine so to get that animation we actually have a little helper object here now let me just bring this out a little bit more we've got a controller called control displace again this is just animating upwards upwards and outwards a little bit so up into the back and again this was just done with those drivers that we created at the very start of the course in the animation section just to get a little bit of animation in there and if it doesn't have to loop these are really great because you can just throw them in there and you'll know it'll sort of move at a constant speed and if we go back to the object if we go back to the displaces here and we turn some of these extra ones off so this is sort of what it looks like by default using just those masks that we set up with the vertex weights before and then just adding this is an empty displace with the middle of all set to zero I'm still using that same group because I don't want to push everything forward but if you displace something that's already bin this place it's gonna start pushing out on the normals and it gives you sort of this more blobby effect where it feels like it's kind of pushing into one there and I think I even do it again here oh no this is just to push it back so this one just pushes back you can see as you increase this second one for example you see it looks like almost like organic or some kind of weird mass and that's just sort of helps and as we push the subdivisions up you'll see that effect is a lot more pronounced even though it gets a little bit slower but it just looks like kind of nasty and organic and gooey and kind of like that feeling so one of the things I definitely do when I'm using this is turn on a smooth modifier because you can see you could really clean up a lot of that geometry and it won't sort of like flip out as much when it animates and look weird so yeah it's turning on a smooth makes a huge difference and it's a fairly fast operation and at the very end I throw in another subdivision surface just to kind of get that mesh looking extra extra smooth and you can see it's not real time anymore but I'm still fast enough to calculate and the other stuff is really just down to the shading so as we set up in the in the modeling sort of titles before we had two text objects and similar idea here just with a separate offset and inside and an outside one only in this case the outside one actually has a an emission shader on it let's just very briefly look at that so it's just a noise texture into a color ramp into the color of the emission and all I've just done is animate this this a little bit I won't show because there's a driver in there again you can see I use the same idea with those drivers even in a vector location so they're they're really usable everywhere and as I play this and let me just turn down the subdivisions of this thing again so we get a bit more of a real-time preview you can see because I've animated this on the z-axis so by default the text is actually turned 90 degrees on the x-axis so the z-axis is actually going front-to-back in this case because I've rotated it to look at the camera you can see it just moves backwards but it just gives a little bit of variation for sort of the reflections here to change a little bit you'll see there's like brighter and darker parts and they kind of correlate to the regular and darker parts here and the very last part of this really fancy looking animation and is the shader on the on the mesh here let's have a quick look at that and again this is a fairly straightforward shader it's really just a wave texture which is affecting a musgrave texture so you can see that vector coordinates trick I use it all the time but if we animate that first wave texture and you can see it has a separate mapping tab here as we animate this and again it's not going to do anything because there's a driver in there but as I play this you can see it sort of distorts the the musgrave texture and there's two reasons for this one is because the topology is changing and actually no there's not so there we go so if we would have set this to object both the changes of the topology and the animation would have interacted together but in this case I forgot I was just using you you v's for this so again all of the animation that you see in the texture is just by animating this wave texture that is distorting this musgrave texture and add that to like the already kind of gooey looking animation and this is piped into a map range first of all just to get some effects here and let's let it calculate for a second there we go and really all I'm doing with this is just kind of getting a bit less contrast in there just so we have a bit more values to play with and then I map it again for the roughness and again throw in the bump and because now you've got like separate roughness and bump for these each one of these ridges as they animate on top of the already animating mesh you get this really lush effect that can sometimes be a little bit hard to control it took some tweaking and like the sizes and things to make sure it didn't sort of flip out all that much but the final effect is quite convincing and makes it look a lot more complex than it really is but it's sort of this living breathing surface and I really like that idea really like that look and again as we did with the the modeling this is have a very quick look at our final composite here and for this one first of all just again added in a vignette because whatever we were looking at here is in the middle so if I turn this back off you can see this really big one here I felt that this felt just a little bit better without it there's just a lot going on on the side and you kind of missed the point here in the middle again this is all to taste obviously and then actually have lens distortion which animates so it just gets a little bit more extreme towards the end of the video just to give you that feeling that um the animation yeah there's just a little bit more going on and one of the things I hadn't mentioned yet before we finish up with the compositing here is there's two lights there's really only two light sources in this scene that are making use of the fact that this is kind of a metallic shader reflecting at different roughnesses and they're just parented to one one empty I believe here controlled all lights I know if I select all of this stuff you'll see to actually just turn around a little bit really I was just too lazy to animate them and I parented them because I just wanted to animate one object and then once again typed in the the frame number here and when we play this you can see did just animate by themselves no big deal again I I wanted to move somewhat quickly with this promo stuff just you know as I'm working on it I don't want to spend too much time on it obviously I want it to look cool but um also I just wanted to make use of all the techniques that we talked about and then finally again there is like noise on here which may or may not be very visible in the recording so you just see a little bit and I always zoom in a lot just to be able to show you in the recording but again what this does if you look at it completely there's not that much difference I can see it on the screen here but it just softens the contrast a little bit and brings everything together and then finally again just some softening and sharpening which is nigh impossible to see on the recording and is again just down to personal preference so yeah you can see really but outside of the text and and like the 2x text objects and the one mesh object there's really no other geometry in this scene and that's it so I'd like to think that it looks more complex than that but maybe it doesn't maybe you can see it quite clearly but it looks cool anyway but again just a good use of techniques that we talked about and in a nice sort of nice sort of result we get from it so yeah with that said let's move on to the the next title which is the shading title